Re:Life in an Interview from Zero is a special series of interviews with the voice actors and theme song artists of the TV anime Re:ZERO -Starting Life in an Another World- (henceforth, Re:ZERO). The series is published in Animate Times. Issue 20 features three people: Yokotani Masahiro-san, who worked on the series composition and script, as well as Nakamura Yoshiko-san and Umehara Eiji-san, who both worked on the script. They discuss their impressions of the anime so far and look back on the scenes they worked on. Only now can they reveal what happened behind the scenes!
■ The script team had no connection to the original light novel. Did Yokotani-san, the series composition writer, give the other two a rough time?
――What was your first impression of Re:ZERO and how do you feel about it after working on it?
Yokotani Masahiro-san (henceforth, Yokotani): I’ve heard a lot of things about these “reborn in another world” stories, but it was my first time actually reading one. It was refreshing how Subaru starts life in a new world without any attachment or desire to return to his original world whatsoever. Yoshikawa Tsunaki-san (from White Fox) told me: “There are some fairly gory scenes in this one. Are you okay with that?” Since I’d only read volume 1 at that stage, I thought, “This amount is fine, I guess.” The story seemed interesting, and when I heard that it was one of those time loop stories, I accepted the job because I’m a fan of those sorts of works.
And then I read volumes 3 and 4. They were tough to read. They weren’t gory in the sense of guts splattering; they were just soul-crushing. When I met Ikemoto Masahiro-san (the editor from MF Bunko J), he said, “I told you so.” The events in the second cour were particularly painful. So I dumped those parts on the other two writers.
Everyone: (roars with laughter)
Yokotani: And so my honest impression of Re:ZERO is “I can’t believe it went there.”
Nakamura Yoshiko-san (henceforth, Nakamura): Since it was my first time being asked to handle a light novel adaptation too, I wondered if I was the right person for the job. My first reaction after reading volume 1 was “Puck is so cute!” Everyone was like, “Is that all you’ve got to say?!” (laughs) By the time I joined the project, Yokotani-san had already finished writing the first three episodes, so the first volume was done. I was like, “Wait, what?” (laughs)
Re:ZERO is a drama that’s packed with information, so I was at a loss about how to handle it. The series composition notes I received went on for pages. “How much info is in here?!” was my first impression. (laughs) The story was interesting, so I can understand how you could get excited over it, but it was a battle figuring out how to cram in all that information. It felt like it was dragging on forever when I was writing the script. But it was fun. (laughs)
Umehara Eiji-san (henceforth, Umehara): I joined the project quite late. Yokotani-san invited me to join around when the scripts for episodes 8 and 9 were being done. I started reading from volume 1 since it was my first time working on a light novel adaptation too, but I paid close attention to the later volumes that I would be working on. My first impression of the later volumes was that they’re thoroughly dramatic and entertaining.
――Umehara-san, you said that Yokotani-san invited you to join, right?
Yokotani: At first, I was planning to divide the work between myself and Nakamura-san, but we couldn’t write that fast between the two of us. (laughs) So in order to keep up with the schedule, we were told to invite another person. I suggested various writers, but then Iwasa Gaku-san (the White Fox president) told us, “I’d prefer someone younger.” It was a bit of a headache.
Everyone: (roars with laughter)
Yokotani: Umehara-san is one of the younger people that I know, and he also worked on the game scenario for CHAOS;CHILD. When I mentioned his name, it turned out that Nagatsuki Tappei-san had been playing CHAOS;CHILD lately. “That’s all right, then,” Nagatsuki-san told us. “You can leave the painful parts to him.” He considered which pair of episodes to leave to him: 12-13 or 14-15, and then asked for Umehara-san to do 14 and 15, the soul-crushing episodes. (laughs)
Umehara: But episode 13, “Self-Proclaimed Knight Natsuki Subaru,” seemed like the most painful episode.
Yokotani: When I was writing it, it was surprisingly painful, I suppose. (laughs) Looking back, I guess episode 16, “The Greed of a Pig,” was the harshest episode. Subaru goes to so many different places and gets shot down each time. I think that episode 18, “From Zero,” is something that women would enjoy more.
■ The scriptwriters were moved by the stellar animation, directing and voice acting in the final product
――When you watched the anime after it was actually completed, what did you think of it?
Yokotani: The animation and directing were superb. I thought that Elsa’s action scenes in episode 3 were amazing, and I could see the amount of detail the staff put into it. Although some parts were edited for the TV version, the gory scenes were amazing, particularly the scene in episode 5 where Subaru’s eyeballs roll around.
Nakamura: The visuals and directing were superb, and so was the voice acting, of course. I felt the emotions on a visceral level. I always watch the anime live when it airs, but if I watch it late on a Sunday then I’ll be in trouble on Monday. That’s happened a bunch of times. (laughs) I’m very impressed by the anime; it leaves me in a daze. I feel so privileged to have been asked to work on this project.
Yokotani: You sure know how to tie a nice bow on things. (laughs)
Nakamura: Because that’s how I honestly feel. (laughs) I love The Devil is a Part-Timer!, and one of the reasons I wanted to work on Re:ZERO is because of the hard work White Fox and Yokotani-san poured into The Devil is a Part-Timer!. I’m delighted that this project turned out so wonderfully too. Puck is absolutely adorable. As a Puck fan, I was satisfied.
――The director Watanabe Masaharu is also a Puck fan.
Yokotani: Puck has a mysterious allure.
Nakamura: When I first joined the project, he laughed and said, “Nakamura-san, you’re a Puck fan?”
――He said that because the story is so painful, he found himself seeking out Puck before he knew it.
Yokotani: He said that as the story got more and more painful, didn’t he?
Nakamura: When I inserted the “cat puuunch” moment into episode 6 (“The Sound of Chains”), the director paused for a moment and said, “I’m so glad you put this in.” That made me happy. It made me wonder if I had been just the teensiest bit helpful. (laughs) That scene was utterly adorable.
――The cast members also look back on those happy times with misty eyes. (laughs)
Yokotani: For sure.
Nakamura: Yokotani-san mentioned before that episode 13 was harsh, but when I watched it I had to wince too. I felt that it was much more painful than the episodes I wrote.
Yokotani: Really? I thought “The Greed of a Pig” (episode 16) was pretty harsh.
Nakamura: It was pretty harsh, now that you mention it. I was surprised by how much the male staff liked Priscilla, though.
Yokotani: That’s because they all felt she was directing her contempt at them when we were reading the script.
Everyone: (uproarious laughter)
Umehara: I can totally sense how much hard work the storyboarders and animators must have poured into this anime behind the scenes in order to bring the script to life. With episode 15 (“The Outside of Madness”) in particular, the power of the visuals elevated the script on so many levels, and so I felt incredibly privileged to watch it. It was well beyond my expectations.
■Did the writers have to worry about things beyond the director’s orders?
――I heard that the only thing Watanabe-san asked of the staff was to stick close to the source material when portraying the story’s darkest moments…
Yokotani: That’s right. The source material is interesting, so we didn’t want to ruin it. But it’s also very long, so we did have discussions about how to preserve the feel of the original while compressing the content.
This is a digression, but when I went drinking with the director at around the start of the project, he asked me things like, “What’s your blood type?” and “What’s your star sign?” I can vividly remember him telling me that our compatibility wasn’t too bad. “So he’s the kind of person who cares about these things,” I thought. Not that I’m any different, though. (laughs)
Umehara: Oh, really?
Yokotani: Yeah. But I’m not checking to see whether the director and I are really that compatible.
Everyone: (uproarious laughter)
――Did Yokotani-san give any explanations or orders to the other two?
Yokotani: I entrusted things to them. The second cour was really rough sailing. I pretty much just said to Nakamura-san, “Please do volumes 4 and 5.” I had worked out where to end each episode, though. The battle against the White Whale was originally supposed to be two episodes long, but that was unfeasible, so it ended up taking three episodes.
Tanaka Shō-san from Kadokawa: To tell you the truth, the anime wasn’t originally supposed to 25 episodes long.
Yokotani: I think that Tanaka-san is amazing for being so flexible. No matter what we told him, he would say, “That’s fine.” I’m incredibly grateful to him.
■ The difficulties of creating a script out of a dense novel
――When creating the script, what things were you all conscious of or tried to keep in mind?
Yokotani: Our work mainly revolved around condensing the story as per the director’s instructions. We agonized about how to preserve the important lines without changing the feel of the novel. There was also a heap of foreshadowing and time loops, so if we cut things out haphazardly, it would create plot holes. That was quite a handful.
Nakamura: Perhaps it was because I didn’t catch the beginning, but when I was writing the script, I’d get rebuked for writing scenes that made Subaru look “cool.”
Umehara: I’m amazed you’d get criticized for something like that. What’s wrong with the protagonist looking cool? (laughs)
Nakamura: But this is Re:ZERO we’re talking about.
Yokotani: If a woman wrote the story, that’s how Subaru would come across. When I realized that, the scales fell from my eyes.
Nakamura: You think so? In episode 6 (“The Sound of Chains”), there’s a scene where Subaru tells Ram the story of The Red Ogre Who Cried. It was difficult to convey that throughout the conversation. The Red Ogre Who Cried part required quite a few retakes. Yoshikawa-san kept asking me for one more take, but only for the Red Ogre Who Cried part.
Yokotani: It certainly was difficult to convey the Red Ogre Who Cried story in such a short timeframe.
Nakamura: When I was looking at the pictures, the director showed me how he worked with his pen and other tools. That was when he told me: “It’s not quite right to make him look cool here. Be careful about that.” I realized then that I had to make Subaru ruin the moment by being himself. It was a wonderful learning experience.
――That’s because Subaru is often called annoying or pathetic, right?
Nakamura: But his signature lines are cool, so against my better judgment I ended up seeing him as a cool person at heart.
Umehara: I get that feeling that the parts I was in charge of were capitalizing on the foreshadowing instead of sowing the seeds, so I often wrote: “Please do a flashback showing how things turned out this way.” I dumped all the foreshadowing on Nakamura-san…
Nakamura: Now that you mention it, there was quite a lot of foreshadowing in the episodes I handled. (laughs)
Umehara: It’s for the sake of making the drama in later episodes more effective. That’s where it all comes to a head. If it’s not depicted well, the foreshadowing would be in vain. I was told to write the script while being aware of the emotions of the characters. The first episode I was involved with was episode 14 (“The Sickness Called Despair”), and that was when Subaru’s negative traits came to the fore. Everyone just wanted to talk about how pathetic he was. (laughs) At that time I was told to rewrite the parts where I made him appear cool, just like what happened to Nakamura-san. “Make him more pathetic,” they said.
Yokotani: It’s like you’re proud of how you wrote him to be such trash.
Nakamura: Takes one to know one.
Umehara: The only problem is that everyone’s so mean to me now. (laughs)
■ What scenes and lines stood out to you from the episodes you worked on?
――Please tell about some of your favorite lines and standout scenes from the episodes you worked on.
Yokotani: Episode 11 (“Rem”), which wraps up the second arc, left a deep impression on me. The scene where Rem reminisces about her past was described at length in the novel, and it was very well-constructed. I agonized over how to do justice to the scene. Also, I was surprised by how the elders wore Japanese-style clothes in the anime. There wasn’t too much information about how the village looked visually, so when I was writing the scene, I had a relatively stronger impression of Subaru holding her in his arms as he runs. I can also remember the part where they go home. I tried to stick as close as I could to the light novel.
Also, the standout line for me was in episode 13, after Subaru gets defeated in the duel against Julius. He opens his eyes in a bed, and that’s when Emilia tells him, “The version of me that lives within you must be amazing.” What happened after that was harsh.
Umehara: It sure was.
Yokotani: What was Nagatsuki-san thinking when he wrote that?
Nakamura: He’s amazing. Where did Nagatsuki-san find those words? (laughs) Every week when we were reading the script, Yokotani-san would say, “Ahh, that stings!” (laughs)
Yokotani: The first arc was filled with all sorts of gory depictions, but the third arc is soul-crushing.
Re:ZERO is one of those “stuck in another world” stories, which means that many typical anime characters appear. And yet someone said those words to Subaru. Not only is Subaru is placed into a strangely realistic position, his spirit gets utterly worn down. What on earth was Nagatsuki-san intending when he wrote that?
I can read the original novel casually, but when writing the script, I can’t help but get more immersed in it, you know? That said, I did end up dumping the painful parts in second cour on the other two. (laughs) Just reading through the script made me feel a bit depressed. It makes me wonder how Kobayashi-san felt having to actually act out those lines.
Nakamura: I have a lot of favorite lines from episode 7: “Natsuki Subaru’s Restart.” After Rem dies from the curse, Subaru can’t give an answer to Ram’s questions. Even then, Emilia covers for him and says, “I choose to trust Subaru.” I liked that line; it felt powerful in an unassuming way.
I also liked the part in episode 7 where Beatrice faces off against Roswaal and says, “Save the jokes for your makeup and weird fetishes, I suppose.” It was on the verge of getting cut, but I simply had to keep it. (laughs) Beatrice grew on me as I was writing her. Her habit of saying “I suppose” caused some trouble.
Yokotani: You managed to keep her intact.
Nakamura: It was through Nagatsuki-san’s guidance. We were bouncing ideas off each other, but no matter how we edited her lines, it would break Beatrice’s character and sound strange. And so Nagatsuki-san wrote a one-liner and we added that in.
I was also deeply impressed by Rem’s line in episode 18 after Subaru tells her to run away with him: “We’re supposed to laugh together as we talk about the future, remember?” It had a lot of truth in it.
■The controversial episode 15 and the hidden story behind episode 18
――Episode 18 was almost entirely a conversation between Subaru and Rem. It caused quite a stir after it aired.
Yokotani: Now that was an adventure. The series director said that he had to rely heavily on the actors and that the episode director was full of questions.
Nakamura: At first, the events of episodes 16-18 were supposed to take two episodes, but we didn’t really want to cut the “From Zero” part. We wanted to show it in its entirety. So we ended up not cutting much from it. The director also said that he wanted to see it uncut, after all…
Yokotani: Ah! So it was the director’s fault! (laughs)
Nakamura: Absolutely not! That’s one of the cool things about him, don’t you see?! I thought it was amazing that he had it all planned out. Tried as I might with the dialogue, it wouldn’t fit if I didn’t cut something. As I wrote the script, I was simply amazed at how deeply Nagatsuki-san had thought everything out. Also, Rem really came into her own in that episode. I could feel the power of her love. I was but a mere audience member. (laughs)
Umehara: I experienced that with episode 15. Betelgeuse’s scene in the cave was jaw-dropping. To be honest, I had no idea that Matsuoka Yoshitsugu-san was playing Betelgeuse until the broadcast. And my goodness was it theatrical. It was written in the lines that Betelgeuse changes rapidly from calm to crazed, but Matsuoka-san took it to a whole new level. The music, the storyboards by Hosoda Naoto, the visuals and the voice acting elevated the script beyond my imagination.
Also, in the last scene of episode 14 as the credits roll, Subaru arrives at the village and can’t accept that all the villagers are dead despite realizing what has happened. That was described in the novel. I talked things over with the director, and we decided not to show the dead bodies in the beginning. The screen would go dark so that you couldn’t make out what was happening, and then suddenly Subaru would make a tumble and see the blood on his palm. In that moment, the floodgate of his emotions would open. We were able to come to a mutual understanding with the episode director about how to express the unsettling atmosphere in the novel’s descriptions. Because of that, I think we were able to capture it well visually. It made a very deep impression on me.
――Incidentally, what episodes stood out to you outside the ones you worked on?
Yokotani: No two ways about it—Betelgeuse stole the show. Although there were mentions of him biting his nails and so on in the scenario documents, I had no idea that he would take it so far in action.
Umehara: Same here. He really pushed the envelope; it was really dark.
Nakamura: At the time when we were writing the script, we were like, “What the hell is Betelgeuse?”
Everyone: (uproarious laughter)
Umehara: You mentioned that. You said, “After this, I won’t be able to write Betelgeuse.” (laughs)
Nakamura: After adding in the voices, he stood out even more.
Yokotani: His movements are so unorthodox. He’d throw his head back so far he’d make a bridge. That would have taken a lot of frames to draw.
Nakamura: Am I the only one who thinks that’s adorable? (laughs)
■ Only now can the hilarious behind-the-scenes episodes be told
――If there are any behind-the-scenes episodes related to this production that you can only talk about now, please tell us about them.
Umehara: There was that incident from when we were reading the script.
Yokotani: I may as well speak up first. In episode 19, “Battle Against the White Whale,” everyone is in a tense situation, and yet they have to sit put and wait for the time to trickle by until the White Whale appears. Subaru’s ring tone announces the Whale’s appearance. The song that played on-air was the theme song from Dog of Flanders, but it took quite a long time for that to be decided. We threw lots of suggestions around, like Kanpaku Sengen.
Umehara: Nakamura-san suggested Subaru, didn’t she? I suggested M by Princess Princess.
Nakamura: I was the only one who said that song was cool.
Umehara: It would’ve been cute if a song from Heidi, Girl of the Alps were playing while the White Whale swam around.
Yoshitani: The director suggested The Beard Song. If we had used that, it would have been like closing the episode with a silly dance. Out of all the songs we could have used in that situation, it would have been the funniest. (laughs)
Nakamura: The song we ended up using, Yoake no Michi, ended up playing for quite a while. It was totally surreal. (laughs)
Umehara: Also, when it came to the end credits of episode 15, Yoshikawa-san was giving joke suggestions at first. Seeing as the episode was not just soul-crushing but also visually grotesque, he said we may as well go all the way and show the credits in red letters. It would give the ending a sordid feeling. Then he laughed and said, “What the heck am I saying?” but when I saw the broadcast, the outcome was even more horrible. (laughs)
Yokotani: That reminds me, Yoshikawa-san’s comments made Nagatsuki-san vexed at times. “Why didn’t I make them say that when I wrote it?” Nagatsuki-san would say. He said that he would include those lines in the print version of the novel.
Umehara: There were two occasions of that. The first one was at the end of episode 15, when Subaru holds Rem’s corpse in his arms in the blizzard and returns to the mansion. There, he finds that Ram is dead. Yoshikawa-san said that Ram should have died trying to protect the children. Nagatsuki-san said that he would write that in and was extremely regretful about that not being there originally.
In the second half of episode 21 (“A Wager That Defies Despair”), there’s a scene where Rem and Subaru talk to each other after the White Whale is defeated. Because it was so difficult to fit the scene into the length of time allotted, it felt like they separated without too much fuss when I submitted the manuscript. The director and Yoshikawa-san said that because Rem had carried herself like a heroine up to that point, she needed to be given a bit more time before she agreed to part ways. In the end, Nagatsuki-san wrote two or three lines in novel form, and I used that to write up the script.
Yokotani: Nagatsuki-san wrote lines for us time and time again.
――But it must have made things easier for you if you were able to exchange opinions with the original creator, right?
Umehara: Indeed. He came to us while we were reading the script and even cracked jokes about Emilia. “She never appears at all. What do we do?” we’d say, and he’d quip: “Shall I make her talk here?” (laughs)
Yokotani: Also, he’d give names to characters that never had names before then.
Umehara: In episode 19 there’s an old soldier who has known Wilhelm for a long time. I asked Nagatsuki-san, “If he were to be in the novel illustrations, which character would he be?” He pointed to a character and said, “This guy.” Then I asked him, “What’s his name?” And he said, “I just decided. He’s Conwood.”
Yokotani: After that, Conwood gradually became more prominent.
Nakamura: The Boss Garm’s name was also decided at the script meeting.
■ What’s your honest opinion on the protagonist Subaru?
――What’s your impression of Subaru’s character?
Yokotani: He’s trash. People often say that about him, but I feel sorry for him, and I think that his actions are understandable given his situation. The other characters are adults and act relatively mature, you know? Take Crusch, for instance. She’s calm and asks him what she can receive in return. If this were regular entertainment, she’d come to his aid unquestioningly, but instead she talks to him in terms of logic and politics. That was pretty harsh, so I found myself sympathizing with Subaru in spite of myself. An irrational feeling came over me and I said, “Just give him a break already, Crusch.” (laughs) If someone backed me into a corner so dispassionately, I’d probably flip my lid like Subaru did. Since I shared Subaru’s feelings right then, the director said I must be like Subaru too. That might have been a bit harsh.
Nakamura: I didn’t think he was that much of a piece of trash. I like him enough that I ended up writing him as a good boy. He was really cool in episode 7 as well. One could say that his way of struggling even when fate toys with him is what makes him trash, but I think that’s what makes him a bona-fide protagonist. They say that “men have pluck and women have charm,” but Subaru also has charm. That’s what I liked about him.
――The female cast members felt that he was annoying, so it’s a surprise that you have a positive opinion on him.
Nakamura: I’m glad about that.
Yokotani: Do the male cast members not count?
――Kobayashi-san was saying that they might see a bit of themselves in him when they call him annoying or trash.
Yokotani: That makes sense.
Nakamura: When I heard him say, “I hate myself,” in episode 18, I asked myself: does he think that way because he’s a guy? He’s a good person at heart! That whole scene made me teary-eyed.
Umehara: Maybe it was because I started working on the script at the episode 14-15 mark, but I felt sorry for him more than anything. I think he was really doing his best.
Yokotani: I understand feeling sorry for Subaru when he’s trying his best, but seeing Rem devote herself so blindly to Subaru was probably frustrating, I imagine. The fact that he has both Emilia and Rem is what really makes him trash, in my opinion.
Everyone: (uproarious laughter)
Yokotani: If someone like Julius were juggling two girls, I can understand, but why Subaru?! I scream. Even though I’m just like Subaru, I don’t have an Emilia or Rem. I think. (laughs)
■ Who are your favorite characters?
――Tell us about your favorite characters.
Yokotani: At first I liked Elsa. I thought Noto Mamiko-san’s voice and acting skills were great. After that, I liked Priscilla.
Umehara: I recall you saying, “I can lick her feet.”
Everyone: (uproarious laughter)
Yokotani: I apologize for complaining about Subaru’s two-timing and not deciding between the two myself. (laughs)
Nakamura: I like Puck.
――What about Reinhard? He’s strong and also a pretty boy.
Nakamura: (laughs) I know everybody loves him, but…
Yokotani: You’re not holding something back, are you?
Nakamura: I’m an Aquarius, which means I look out for the weak.
Everyone: (uproarious laughter)
Nakamura: There are no characters that I dislike. It’s amazing that all the characters stand out in their own ways.
Yokotani: Personally, I like Crusch as well.
Umehara: I guess my favorite is Subaru. I got stuck in his headspace through writing the script, so I came to like his character. When I was writing episode 20 (“Wilhelm van Astrea”), I thought, “Wilhelm should be the protagonist!” I might have overdone it with the references to the past. (laughs) On the whole, I dedicated most of my thought to Subaru.
■ It’s time to unveil your questions for Kobayashi-san and Matsuoka-san, who will be appearing next in this series!
――In this series of interviews, the participants ask questions to the next round of people who appear. Please tell us your questions for Kobayashi Yūsuke-san, who plays Subaru, and Matsuoka Yoshitsugu-san, who plays Betelgeuse.
Yokotani: For Kobayashi-san my question is, “Doesn’t it feel weird to act?” and to Matsuoka-san I ask, “You sound like you’re having fun, huh?” (laughs) Given that one of them is gradually pushed into a corner and the other one is a religious fanatic, they’re very contrasting characters. I think that the actors get deep into their characters in order to play the roles, so I want to ask them if it ever gets in the way of their daily lives.
Umehara: First of all, I want to apologize to the two of them for episode 15.
Everyone: (uproarious laughter)
Umehara: Also, I want to tell them: “Thank you very much. You really helped me out.” As for my question, I’d like to ask what the most feel-good episode for them was.
Nakamura: To the actors, I’d like to ask: “When do you find yourself thinking that a script is hard to act out?” But I feel like I’d get answers that I would not like to hear. (laughs)
■The scriptwriting might be finished but the anime isn’t. Let’s see it off to the end without any distractions!
――Finally, do you have any messages for the viewers as we’re entering the final stages of the anime?
Umehara: Episode 22 will air after this. If this were a normal anime, then one would think that the subsequent episodes would be heading toward a conclusion, but from here the counterattack begins. Subaru still hasn’t fought with Betelgeuse again, after all. There are more exciting developments to come, so I think it’ll be fun to watch. So I hope all the viewers watch the anime until the end.
Nakamura: Subaru has hit rock bottom, but from here he will take action. He will also reunite with Emilia after parting ways with her for so long. All those bottled up emotions will finally come to a head. Please watch Subaru-kun as he responds to Rem’s feelings and becomes a hero.
Yokotani: The rest of the world might think that Rem is the heroine, but one of the later episodes will show off Emilia as the bona-fide heroine. Ever since Subaru met Emilia in episode 1, he has run as far as his legs could take him with her on his mind. That episode is still in the works.
I think I’m repeating myself here, but it’s not often you see a story that puts its protagonist through the wringer to this extent. It’s painful just to watch, so one is tempted to run away, but the story just keeps throwing one bad event after another at you in an unflinching manner. But I think that the events after the White Whale fight are refreshing and well worth waiting for, so hopefully you should feel glad that you watched all the way to the end. As long as the director and staff don’t do something unthinkable, at least. (laughs)
Umehera: What if it ends with Subaru plummeting to even further depths of despair?
Nakamura: What are we going to do about all the people who fall into depression after seeing that?
Umehara: If that were to happen, I’d applaud…
Yokotani: It would certainly cause a stir. In a good and bad way. (laughs) Even though we’ve finished writing the script, we can’t afford to lose our focus. I’d love to keep an eye on everyone as they watch the conclusion. I’ll make sure you all come out the other end safely. (laughs)
In issue 21 of Re:Life in an Interview from Zero, Kobayashi Yūsuke-san and Matsuoka Yoshitsugu-san will appear. Kobayashi-san plays Subaru, while Matsuoka-san plays Betelgeuse. Stay tuned to find out how the conversation goes!